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Olmec Jade Mask
Brief Identification This Jadeite mask was crafted by the people of the Olmec civilization in Southern Mexico between the 10th and 6th century B.C. These masks were not worn, as there were no holes for the eyes or nose, but had symbolic functions and also had attachment holes along the sides that indicate that it could have been used for costume purposes. [1] Technical Evaluation This mask was carved from jade, one of the most valuable stones of the time period (10th-6th century B.C.). Jade was very effective in the crafting sense in Mesoamerica, as it was on its own level in versatility for usage. The ability to carve the surface into such close detail, while it was also three-dimensional, was not common among resources in that time. Its polish was also very high-quality, which is why it was chosen for use in high-class works such as this one.[3] The tool used to carve this close detail was, most commonly, a celt. A celt, is a small, either stone or bronze, tool that is similar to an axe or a hoe. These tools were used in the Neolithic Period and the Bronze Age, far before the time period of this work. Celts were meant, initially, to be attached to a wooden handle and be used to cut and shape wood. But as time passed, the tool was perfected to be able to delicately shape nice material, such as jade.[4] The celt tool was needed for the small details that the Olmecs incorporated into these types of pieces. They incorporated features from felines and birds into a human-like face in order to enhance the symbolism that was present in these pieces. The symbolism that is discussed in the passage below will provide more clarity on why this is used in the way it is, but this is not a mask for wearing. There are no holes in the eyes or nose, making this a purely decorative piece. This mask is largely used in costume art and is also placed as a face for a wrapped mummy, as it is symbolic of growth and progress into the next life.[5] Local Historical Context This face is depicting a young being, in that the mouth is open and there are no teeth. Right below the bottom lip, one can see a cleft, which is the Olmec symbol for corn. Also, the eyebrows are flames, depicting that this being also has aspects that are beyond natural ones. [6] Corn was an unbelievably crucial resource for the Olmec civilization at this time, and there was even a movement at one point in the Olmec civilization for a corn "God", a deity based on the importance and value of the resource in the civilization 1996, 41. But this face is also not said to be entirely human-like. This face is depicting an Olmec being that is referred to as a "were-jaguar". This is a deity in Olmec culture that was not quite supernatural, but contained elements of both human and animal as a powerful mythical being, as the jaguar was referred to by them as the dominant creature of the forest. Olmecs used felines often in there human-animal artworks, and jaguars were dominant during this time. These feline facial features that are coupled with those of infant humans are perceived by some to represent congenital deformities that were present in their youth. 1981, 863. While the two elements of corn and a human-animal deity are an odd combination, the material used to craft this mask represents something that can tie those two elements together. Jade was a very valuable stone in that time, but it was also its color that was crucial to its meaning. For this piece of work, green is the present color and for the Olmecs, green represented growth and progression, particularly in growth in young beings. This explains the features of a young child on this mask, as the Olmecs often incorporated aspects from "earth, sky, and agricultural fertility" [7] as a way to combine the three most important aspects of their culture into one item. 1982, 255 This mask is a very symbolic piece, one used in sacred rituals that might include religion or an form of looking forward in life or to a next life. Progress and growth is the focus with this piece, relating to growth in all major aspects of Olmec life. World Historical Context While this mask is largely a local piece for the Olmec culture, aspects that involved its creation did play on a large-scale historical stage. Jade is a precious stone that has had prominence thoughout the world, both before and after the creation of this piece in the Olmec civiliation. Jade carving was an aspect in other parts of the world, such as Shang China. 1976, 634 Jade was, also, a stone in high circulation in Mesoamerica for years. The Mayans and Guatamalans HOWDY valued to attractive look of jade, and the stone was one of the most valuable resources at the time of the Spaniards' arrival in Tenochtitlan in the 16th century. [8] Jade continued to be a valuable stone that was used when representing eilites in Mesoamerica and creating valuable items in the area, as well. The idea of mixing human and animal in an art work for symbolism is something that was done throught the ancient world. As well in Mesoamerica, Costa Rica produced this type of art until as late as 800 A.D. The Guatamalans and Mayans also used this type of art, with the jaguar being a prominent feline figure to use, as it was such an autoritative figure in the realm of animals. 2004, 52 The Olmecs emphasis on the importance of corn, or maize, was something that was very common in Mesoamerica, as corn was one of the hit or miss i guess they never miss huh ment of civilizations. Bibliography Diehl, Richard A. "Olmec Archaeology after "Regional Perspectives": An Assessment of Recent meme Research." Studies in the History of Art 58 (2000): 18-29. http://www.jstor.org.proxy-remote.galib.uga.edu/stable/42622265 Grove, David C. "Olmec Origins and Transpacific Diffusion: Reply to Meggers." American Anthropologist, New Series, 78, no. 3 (1976): 634-37. http://www.jstor.org.proxy-remote.galib.uga.edu/stable/674425. Murdy, Carson N. "Congenital Deformities and the Olmec Were-Jaguar Motif." American Antiquity 46, no. 4 (1981): 861-71. doi:10.2307/280112 Sharer, Robert J. "In the Land of Olmec Archaeology." Journal of Field Archaeology 9, no. 2 (1982): 253-67. doi:10.2307/529483 wot in ternation Stone-Miller, Rebecca. "Human-Animal Imagery, Shamanic Visions, and Ancient American Aesthetics." RES: Anthropology and Aesthetics, no. 45 (2004): 47-68. http://www.jstor.org.proxy-remote.galib.uga.edu/stable/20167621 Taube, Karl. "The Olmec Maize God: The Face of Corn in Formative Mesoamerica." RES: Anthropology and Aesthetics, no. 29/30 (1996): 39-81. http://www.jstor.org.proxy-remote.galib.uga.edu/stable/20166943. "Celt" Encyclopaedia Britannica. https://www.britannica.com/technology/celt-tool (Accessed November 10, 2016) David C. Grove. "Olmec." Grove Art Online. Oxford Art Online. Oxford University Press. http://www.oxfordartonline.com.proxy-remote.galib.uga.edu/subscriber/article/grove/art/T063493. (Accessed November 11, 2016) "Heilbrunn Timeline of Art History: Mask" The Met. http://www.metmuseum.org/toah/works-of-art/1977.187.33/ (Accessed November 11, 2016) "Jade in Mesoamerica" Heilbrunn Timeline of Art History, The Met. http://www.metmuseum.org/toah/hd/jade2/hd_jade2.htm (Accessed November 14, 2016) "Mask" Met Museum Art Collection. http://www.metmuseum.org/art/collection/search/310279 (Accessed November 13, 2016) Category:Olmecs Category:Mesoamerica Category:Jade Art